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Instrument Design for Live Electronics

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Instrument Design for Live Electronics Instrument design for live electronics Amir Bolzman Bachelor's Thesis Institute of Sonology The Hague May 2015 Abstract This thesis concerns my research in the field of instrument design for live electronic music performance in response to personal challenges I encountered in this field. This research resulted in two instruments, the first using a traditional instrumental paradigm of a one-to-one correspondence of physical gestures with individual sound events, and the second one concerned with a more reactive approach influenced by the work of David Tudor. I will discuss the resulting strategies I developed for integrating each instrument into solo and group performances. The last part will concern plans for future work in this field, including a description of a new instrument and new performance strategies. 2 Acknowledgements I would like to thank Johan Van Kreij, who opened for me the door to the world of instrument design and improvisation. Without his support and kindness i couldn’t begin my journey. I would like to thank Richard Barrett for his insightful remarks and guidance. I would like to thank Joel Ryan for his inspiring lessons and conversations. I would like to thank all of the teachers and students in the institute of Sonology for creating such a fertile environment for experimentation and development. Special thanks go to Adam Juraszek, Peter Edwards and Jol Kristína Karabová for helping me with language. I would like to thank my family for supporting me and encouraging me to continue with my studies and my music. This thesis is dedicated to the Villa K people, who gave me a roof to live under, supporting company and a lot of inspiration. 3 Contents 1.ntroduction ........................................................................................................................... 5 Background and Motivation .................................................................................................................................................. 5 2.Guidelines for my instrument design ..................................................................................... 7 2.1 Introduction .......................................................................................................................................................................... 7 2.2 Virtuosity ................................................................................................................................................................................ 7 2.3 Effort ......................................................................................................................................................................................... 8 2.4 Hands and ears (only) ....................................................................................................................................................... 8 2.5 Stability and mobility ........................................................................................................................................................ 9 3.FWWM (FireWalkWithMe) .................................................................................................. 10 3.1 Description and motivation .......................................................................................................................................... 10 3.2 Sound Engine: ..................................................................................................................................................................... 11 3.3 Interface: ............................................................................................................................................................................... 12 3.4 Controlling, mapping and playing techniques ...................................................................................................... 14 3.5 Spatialisation ...................................................................................................................................................................... 15 3.6 Playing live with FWWM ................................................................................................................................................ 16 3.7ABRA Vocal Ensemble and Amir Bolzman .............................................................................................................. 18 (Track 1 on appendix CD) ..................................................................................................................................................... 18 3.8 Conclusions .......................................................................................................................................................................... 20 4.TudorMachine .................................................................................................................... 22 4.1 Description and motivation .......................................................................................................................................... 22 4.2 Sound Engine ...................................................................................................................................................................... 23 4.3 Interface ................................................................................................................................................................................ 25 A.Version 1: MagicPad ............................................................................................................................................................ 25 B. Version 2: FSR Matrix Array ............................................................................................................................................ 26 C. Towards a new approach ................................................................................................................................................. 28 D. Version 3, UC 33, from active to reactive ................................................................................................................... 28 4.4 Mapping ................................................................................................................................................................................ 29 A.GLobaL controL ......................................................................................................................................................................... 30 B. LocaL controL .......................................................................................................................................................................... 31 4.5 Spatialisation ...................................................................................................................................................................... 32 4.6 Playing TudorMachine .................................................................................................................................................... 32 4.7 Two examples of TudorMachine performances .................................................................................................. 33 A. Fdbk Ptrns ............................................................................................................................................................................... 33 B. Improvisation with NikoLaj Kynde ................................................................................................................................ 35 4.8 Conclusion ............................................................................................................................................................................ 36 5.RawTouch - Conductive Digital Instrument .......................................................................... 37 6.Conclusion and Future Work ............................................................................................... 40 References ............................................................................................................................. 41 Appendix 1: Contents of the accompanying CD ...................................................................... 42 Appendix 2: Etude for QuNeo and Noise, Notation and Performing Techniques ..................... 43 Appendix 3: List of selected performances ............................................................................. 45 4 Introduction Background and Motivation After graduating in my music studies in Musrara School for art, I started being involved with the local free improvisation scene in Jerusalem. Live performance wasn’t new for me, I had almost 10 years of experience playing keyboard and piano in various rock and pop bands, especially in electronic oriented groups where I would also operate a computer. It seems like my wide experience didn’t prepare me to perform this kind of improvisation. I knew how to play the right melodies, play a groovy rhythm or funky synth sound, but I didn’t have the tools or the right idiom for improvised electronic music. I would use different Max/Msp patches or trigger samples in Ableton live but all of those tools didn’t give me the possibility to build a coherent and complex musical idiom on stage. When playing with other musicians I felt I could not respond in the way that I wanted or imagined, my hands couldn’t follow my ears. Although I got positive comments from my colleagues I never felt that I was really playing,
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